Osvaldo Rossi

The gesture is a trace,
clue and
lightness

(...) To take up this paradox and implement it in new metamorphic features of space-light-matter we can consider the artist's constant commitment. In its plastic activity it is necessary to distinguish three phases. The first dates back to the years of training at the Academy of Fine Arts in Macerata, in the late '70s, when under the guidance of the sculptor Valeriano Trubbiani performed partial anatomies modeled on a porous stone, properly polished, but which had not altogether forgotten his primitive elementary materiality. Next to the necessary modeling, imposed academically, he followed the innovative lesson of recent informal tendencies, which had reiterated the urgency of matter in its unsurpassed naturalness. Incompiuteness and expressive solicitation were the dialectical poles of his argument.

The diction of "incomplete anatomies" related to the early works was very well justified by the emblematic title "Particolari anatomici", presented at the first exhibition ("New proposals" Gallery of Ascoli Piceno) in 1975. Important Glutei, where Jean's suggestion is noticed Arp del Torso-Garbe (1956) of the homonymous foundation at Clamart Meudon, where the plastic tension of the figure is enhanced by the light effects of travertine. The triad form-matter-light has found here its first convergence in a volumetric assignment realized in equilibrium of undefined masses. The color, like reciprocity of shadow-light or better, plastically, as the interrupted light of matter, a diaspora of it, adhering to the travertine surface, made the contrast between smooth and rough parts emerge. In short, the work was given as a fragment, as if interrupted by volumes and masses, in the segments of light that crossed it, giving vitality to the shadows. "It is enough ... a fleeting glance, to note that in these works there is a 'democratic' coexistence between machined masses and natural surfaces, between elements that tend to the anatomical definition and material fragments that describe themselves. All this contributes to a vigorous plastic affirmation, accentuated by the soft shadows that wet the worked areas and, above all, by those caravaggio-like luminosity fractures that define the rough surfaces ". The terms used for "rough surfaces", "anatomical definition", "material fragments" and "soft shadows" not separated by "luministic fractures", then highlighted a sculpture that was located between surface and trace, between light and shadow, according to a cultured beauty not idealistically, but in the contaminating involvement of matter. Giuliani then deepened this research by extending it to the human figure caught in its entirety.

He noted: "From 1976 to 1982 came the need to complete the figure. Then I began to sculpt complete anatomies because I needed to see the whole body. Just the eighties were characterized by a return to the figurative, as it appears, among others, in works with a green face of 1988, Androgyne of the following year, Woman with a tree from 1987-1989 to discover Martinian adhesion. Behind them there was no pre-established theoretical assumption, but only a practical and personal need of that moment. The figure has a pisanesca dimension; there is the twist, the tension, a taste of manipulating the stone, perhaps a dramatic sense. This speech was in any case purely occasional ". Although the human figure is dominant here, the first plastic forms of his sculpture no longer claimed the centrality of the subject. It became a pretext for clarifying one's ideas about form with its interruption, twisting, finding itself in a new impetus. Among other things, Giuliani declared to refer to Gothic examples, obtaining the same effects using not marble but travertine. The new figure and the taste of manipulating the stone compensate for a sentimental, pathetic classicism. His figures have a momentum and a dynamic in which naturalness and harmony acquire new plastic power, which is both anti-heroic and timeless. But it is not academic. Giuliani tackles the figure decisively and with humility, recomposing the body's measurements, already broken, crushed, deformed, in renewed equilibrium and tension. (...) Giuliani in his work of 1987-1989 concerning the Martinian subject with the title Donna con albero, of greater greatness, accentuated the expressive element, the almost dramatic tension of the figure, where it was possible to notice a situation of woman symbiosis. nature, absorbed in a reciprocal belonging, in a problematic rooting.

 

 Eremo San Marco  Grotta Beato Corrado  Besalu3
 Besalu_2  Besalu_1  Besalu_3
 Fossato1  Fossato2  Bianco Nero 1

At the end of the eighties there was a third phase, connected to the previous ones: the occasional recovery of the fragment as an indication and diaphragmatic expression, as research. He explained: "I once again confronted my need for a figure, which has remained the same until today. Central is for me the problem of the image, not of the pure and simple figure. The image is constructed with two elements: occasionality, which is very important, and contemporaneity, which is a solicitation of current questions and answers. (...) I resumed in 1989 with a strong desire for innovation, also favored by meetings with some critics and the winning of the "Marche Prize" of that year, which convinced me to abandon the figurative ". Giuliani had presented three significant works of the new course at the Marche exhibition. The first, entitled La Bella, marked a moment of transition towards the most current phase. The trilogy also included La Barca and La Caverna, which aroused great interest. In particular La Bella was a real watershed because the need for a former figure persisted in the "symbolic objects of a hill, of the countryside, of a woman ..., ancestral evocation of the Earth Goddess, of Fertility". In the same direction the other two sculptures moved. "The body of the placenta of the Earth, the Cave is emptied and becomes a light envelope where the emptiness of a 'covered' interior weighs: from the Igloo of Merz to the excavated stones of Anish Kapoor, Giuliani proposes in his tradition the theme of fullness and empty in an archetypal key in the ancestral reference to the Plato's Cave. (...) The plastic encounter between the stone and the artist, in the original liberating opening of space, forces us to deepen some concepts used above, such as that of "form" that will lead us to better characterize the work of Giuliani.
It is in the difficult balance of the aforementioned components that Giuliani has attempted a renewed connection between stone and idea. The whole history of contemporary art was animated by a process of liberation from the traditionally understood figure. (...) Giuliani uses chalk, pigments or, rarely, fabrics (here the reference goes to the figures emptied and crossed by thin strings of Hepworth) that tries to mix with the very fragment of the travertine. This leads to a pulsating sculpture, never "reassuring or superfluous, however, also full of elapsed segments, as if the consequentiality.

 Bianco Nero 2  Almagno Giuliani Damico  Repubblica 1997
 Ancona 1998  Giuliani D'Angelo  Contaminazioni

information - and testimonial - gave him the re-generating force ". Now how do we understand this "in-formative consequentiality" that unfolds in the dynamic "regenerative" precipice? These are the most recent works to tell us. He attaches great importance to the occasionality through which he expounds his thought in fieri, catching in it the features of modernity. The "in-formative consequentiality" is situated within the incompleteness, the fragmentation and is prompted by the occasional nature of doing. In Affresco of 1993 there is an attempt to root on an ancient memory chalk, paper and signs, experimental presences of a treatment that highlights the syntagma of the stone. The belonging of stone-image declines the original immanence of an ancient but also current object, of a sacrality perhaps never existed. Here the answer is to questions that the exploration of the stone concretely from time to time poses, not only in the search for plastic solutions, but also in making something recognizable. The process of image processing is never given as the introduction of a priori forms or as mimesis of conceptually defined ideas, but as arousing the possibilities of the stone to become the substance of something. (...) See, for example, Ameba of 1992 where the idea arises from the attempt to balance by concentric lines a form that could refer to a single-cell living being, which finds its features in the complexity of the relationships that make it up. (tonal passages, lines on the outer perimeter, fabric insertion
colored, which is worth as a contrast between opposing subjects that coexist through a matching operation in unusual ways and terms, "for pure act of love" says Giuliani). These juxtapositions are elements of a new plastic image whose "consequentiality" consists in drawing out as an informative answer A fairy tale in the abyss is a rhythm, a temporal movement that is recognizable in the overcoming of every habitual form.

On the value of the artefact and of uselessness at the same time of the object see La Mensola of 1992, where the work, in its value as an archaeological find, is proposed as an object of use, however, fully unusable. As a reference, despite the diversity, the thought goes to Haim Steinbach who uses the shelf as a real support for real things. Steimbach justifies this by pointing out: "I like looking at objects, selecting them and placing them in groups alternating singularities and repetitions. People speak through objects. In a society there are collective cultural desires based on the exchange of objects that translate into true language ". Giuliani 's objects do not have an exchange character nor do they arrange themselves serenely in their singularity, in an attempt to provoke, as in Steinbach, "thoughts regarding the positions and projections" of the same and to trigger the "visual devices that implement the art of seeing ", they rather combine memory, depth Catalog of the 1998 exhibition and current events, in the uselessness, fragility and expressiveness of the work. In Giuliani we note in some ways a recovery and an overcoming of "minimalism" through the use of a "low" material such as travertine, which streamlines this direction and the use of so-called "high" materials. The streamlined work is accompanied by its expressiveness. Beyond a minimalism en vogue, his is spasmodic research of an event; of an epiphany of origin. Giuliani overcomes the rigidity of certain minimalist contemporary classicism with its expressive and gestural archaism. Look at the Hermitage of 1993, born of the convergence of a twofold circumstance. Visiting the Gubbio Biennale of that year Giuliani had noticed a niche where a small sacred image was inserted; it then associated the view of the hermitage of San Marco which is close to the place where he works, to arrive at the composition of a cell-window (an inside and an outside at the Anish Kapoor) that appears in the center of a container that in its essential plastic represents the building completely leaning against the wall. Thus the presence of the hermitage and the image of the niche have found Giuliani and D'Angelo their convergence in the idea of ​​the sacred as tension and proximity, also through a skilful dexterity.

In The Temple of 1990-'91, sacrality, minimalism and conception coexist collected in the apse section to which the work refers. In its fragmentary nature, it has a sense of completeness and purity, conferred by the plaster, which makes the temple think of it as a find and a sacred place. Sculpture becomes architecture of the place, transformed and realized in the work, through the dialectic of space-void, internal-external, light-shadow. This also applies to Ambone in 1994, where we note a process that achieves an idea by changing the rules and meanings traditionally given to objects. It is a question of recovering the possibility of meaning (think of Antonio Trotta) through the problematization of conventional codes and the fantastic decanting of the intimate relationship between idea and matter. Thus a container with corrugated sheets of paper can become L'onda (1992) and a dug, rounded and thinned section of travertine, with plaster interventions (in its sense of having-being and custody), can become a sacred object. The conceptual minimalist need joined to the expressive one has been translated into a progressive scarification of the figure-object, through the ever more evident discovery of the internal space that corrodes and invades the volumes (whose premise can already be found in the holes pierced and dug out of Henry Moore, in the last Fazzini). It is also worth mentioning Ostia (1992-95), made from a particularly fragile stone due to a violent lowering of temperature that occurred after its extraction. The result is a stimulating suggestion that between fractures and polishing of the travertine has led to the final result of sacred inspiration, not new in Giuliani, symbol of the Sacrifice of Christ and of the regenerative redemption of man. This symbolism also recalls that of art, in which the work is the mystery of a work that, in sacrifice, redeems material and artist. Finally, in Gilberto and Elmo in 1997, which has its precedent in La vela in 1991, "other memories are crowded around the work: that of a baroque that dramatically, almost theatrically, opposes shadow and light; that of a Bernini wing or cloth; that of a curving facade of the Borromini. The symbolic suggestion is strong, in Giuliani: contained by that harsh saying, obtained by fragmentation of a unity, of a perfection, meeting had at the Italian Institute for Philosophical Studies in Naples in January 1996, commented: "It is of a very interesting job. Africa is here as a map; it is not defined, it is clear.

But it's not just a map, it's also the head of an animal. This, it is true, derives from a reading to which we are accustomed, suggested by the form of the duality of the eye. However, sculpture as an idea and as a realization is a clear expression of new trends ". The Gadamerian reference leads us to the Giacometti della Testa, 1927, also because as pointed out by Ernst H. Gombrich (who grasped its proximity to Brancusi) it was not "so much the simplification that he pursued as the achievement of expression by minimal means. What can be seen in the plate does not consist in two hollows, it is true, one vertical and one horizontal, but it looks at us fixedly like those products of the tribal art ". It must then be recognized that Giuliani's poetics is fundamentally an energetic and poetic of the trace, of the surface, of the threshold, which is based on the utopia of matter-earth-emptiness. The earth is, as mentioned above, "an empty place and therefore open to the possible". The energetic trace implies a sculpture that rises not in the fullness of the volumetric masses, but in the fragility of fleeting surfaces, in the imprint that is subtraction of matter, film stretched as the last diaphragm that separates us from the earth, from its abyss. It can be said that Giuliani's is a poetics of emptiness that is expressed in an energy of the diaphragm. (...) Giuliani, through his plastic work, rediscovers the belonging of the clue-trace-footprint to an active other presence. The energetic here is one "unearth" is a "leave the imprint" through the diaphragm. In the first case it is eidos (Fl6oc) what it leaves to see or volumetric void; in the second case, it is stone-earth or full volumetric. It is in discerning the impression that the diaphragm becomes a place of a tension charged with power, to be hieròn or sacred. While in "leaving the imprint" it becomes the revelation of this power. Giuliani's sculpture ultimately lives in the space of a dialectic of power, or of the sacred; in this it rediscovers the ancient feeling of a stone that is life and "difference".

Automatically translated with Google translator. Report inaccuracies to This email address is being protected from spambots. You need JavaScript enabled to view it.

 Osvaldo  Rossi